Phil Collins at Face Value – “Not Dead Yet” Book Review

Phil Collins, Not Dead Yet The Memoir (Penguin Random House, LLC, 2016)

51rbrtjqxel-_sx332_bo1204203200_Few people in the music industry have reached the same pinnacle of success that Phil Collins has achieved. Even fewer have sold over 100 million albums as both a member of a band and as a solo artist. This is a man who “fought in the prog wars,” hobnobbed with Queen Elizabeth and Nelson Mandela, and who wrote and sang hit tunes for a best-selling Disney movie, for which he happened to also win an Oscar. Seemingly, the man has everything, yet this is merely the public “Phil Collins.” Philip Collins is a much more complicated man, and life isn’t as easy as he made it look over his long career.

If I were to describe this excellent memoir in one word, it would be “honest.” Two words – “brutally honest.” Collins holds little back. He invites us to come in and look at his struggles, hopefully understanding more about him and his music as we do. What stands out the most, however, is how down-to-earth he is. Unlike Genesis bandmates Peter Gabriel, Tony Banks, and Mike Rutherford, Collins was not raised in a ritzy upper middle-class British school. Instead, he was raised in a sturdy working-class family at the “end of the line” outside of London. Indeed, as a child he lived just far enough away from anything exciting as to make it a big effort to get anywhere. This didn’t stop young master Collins, however. Many of his formative teenage years were spent milling about in music clubs in Soho, where he saw bands such as Cream, the Yardbirds, The Who, and Yes (who would later offer him a job as drummer). He was even present the first night Led Zeppelin ever played a live show. Did I mention he was in the crowd for the Beatles A Hard Day’s Night? Yeah, he got around.

Continue reading “Phil Collins at Face Value – “Not Dead Yet” Book Review”

Genesis: “Supper’s Ready” (Video Illustration Edition)

H/T: Greg Spawton

Album Review: @DaveKerzner — Paranoia EP and New World Live LP ★★★★★

Dave Kerzner continues to amaze. His new Paranoia EP starts off with two new tracks. Don’t underestimate these. The more you listen to them, the more they take hold of you. Dave is an underrated songwriter. This EP proves it. These first two tracks are incredibly finely crafted songs, but unlike most prog they do not draw your attention to that fact. Instead, they are subtle, and your appreciation of them will only grow. Absolutely stellar tracks, they leave me wanting more. I can’t wait for Dave’s next full album.

Also on the EP are two live tracks that are taken from the extended 2015 Deluxe Edition of New World. “Secret” was never a favorite of mine, but here in this live version the song is much enhanced. It works so much better live, and Dave even drops an F-bomb to liven up the saccharine Barry Manilow vibe that I always thought ruined the song. Well, I understand the track much better now. The sappy atmosphere is actually meant to be totally ironic. Listen to the lyrics, and you’ll get it. I now love this song. I guess it needed to be abstracted from the two-hours-plus version of New World in order for me to finally appreciate it. Well, I really love it now.

As for “Recurring Dream,” I always really, really liked the song. The way it starts is so cool, and the whole harmonious structure is so beautiful, graced with one of Dave’s very best melodies. I can understand why it seems to be being played as an encore here. Bravo! This is a rock solid EP, and a real gift to the fans.

Continue reading “Album Review: @DaveKerzner — Paranoia EP and New World Live LP ★★★★★”

Love that short set, Phil Collins!

Collins, as you might recall, is a drummer and singer who once was part of a legendary prog-rock group. In recent years he has kept a low profile. Why? An August 17th piece in the New York Times catches up with Collins:

After decades as the drummer and post-Peter Gabriel lead singer for Genesis, as well as a commercially dominant solo run as the poster boy for pillowy ’80s pop excess, Mr. Collins retired as a not-quite-beloved rock elder in 2011. As with most musician goodbyes, the dormant period didn’t last. (Presciently, Mr. Collins had called his tour in support of the 2002 album “Testify,” his most recent release of original material, the “First Farewell Tour.”)

Since announcing his resurgence last year, Mr. Collins, 65, has performed at a handful of charity events, in addition to starting the process of reissuing eight of his solo albums.

The piece is a lead-up to an August 29th performance by Collins at the opening ceremony for the United States Open tennis tournament in Flushing, Queens. Collins explains that he’s been busy with family, recovering from “war wounds” including surgery on a bad back, which led to foot problems, which was then followed by some problems with his left hand. He’s also been working on a memoir, which appears to be quite open and honest about his failed marriages (three of them), drinking problems, depression, and such. Of his varied career, he says:

I think, with some critics, I became synonymous with an era of music that they didn’t like, and they were suspicious of all success, which is understandable. You end up painted into a corner that it’s impossible to get out of. I don’t lie awake and think about this, but I withdrew in 2005, and I think I was quite honest about why: I wanted to write myself out of the script.

When the reissued albums came out — which I was reluctant to do at first, until I found some way I could be proud of it — I thought, “This is exactly what I’d hoped for.” Of course, records sell differently now than when I was making them, so it wasn’t a question of cashing in. It was giving people a chance to re-evaluate this person that had become a whipping boy for the ’80s. I was so pleased that people were able to say, “I re-looked at this, and it’s better than I thought.”

All of which leads up to this video of Collins performing yesterday in NYC at one of my favorite sporting events, The U.S. Open (yes, tennis is a favorite sport; I own 68 rackets). The first song, “In the Air Tonight”, is very well done; note the drummer, who is Collins’ 15-year-old son, Nick. The second song, “Easy Lover”, is performed with Leslie Odom Jr. (“Hamilton”) and is utterly boring.

“Entangled” — Genesis cover by Hydria

Peter Gabriel releases new song: “I’m Amazing”

Hackett’s Clip: Lamb Lies Down

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Steve Hackett by Anne-Catherine de Froidmont

MAY 31ST, 2016

FOR IMMEDIATE RELEASE
WORLD-RENOWNED GUITARIST/COMPOSER STEVE HACKETT  REVEALS “THE LAMB LIES DOWN ON BROADWAY” CLIP
 
VIDEO TAKEN FROM 2CD/2DVD, BLU-RAY “THE TOTAL EXPERIENCE LIVE 
IN LIVERPOOL,” DUE OUT WORLDWIDE JUNE 24TH VIA INSIDEOUT MUSIC
 
(New York, NY) – World-renowned guitarist/composer Steve Hackett has just revealed the first clip from his forthcoming 2 CD/2 DVD, Blu-Ray package THE TOTAL EXPERIENCE LIVE IN LIVERPOOL.  The video for “The Lamb Lies Down On Broadway” can be viewed here.  THE TOTAL EXPERIENCE LIVE IN LIVERPOOL will be released worldwide on June 24th via InsideOut Music and was filmed during Hackett‘s Acolyte To Wolflight With Genesis Revisited tour last year.  Celebrating the 40th anniversary of his first solo album VOYAGE OF THE ACOLYTEand following his latest album WOLFLIGHT, the Acolyte To Wolflight With Genesis Revisited Tour was Hackett‘s effort to represent the many chapters of his career. Featuring two sets – one highlighting his solo work, the second paying tribute to Genesis – the two hour performance was greeted with enthusiasm by both fans and critics.  A trailer for the release can be seen here.

Continue reading “Hackett’s Clip: Lamb Lies Down”

Steve Hackett North American Tour, 2016

stiff guitarist guy

 

 

WORLD-RENOWNED GUITARIST/COMPOSER STEVE

HACKETT RETURNS TO NORTH AMERICA WITH “ACOLYTE

TO WOLFLIGHT WITH GENESIS REVISITED – THE TOTAL

EXPERIENCE” TOUR 2016

 

SET TO INCLUDE HACKETT SOLO MATERIAL AS WELL AS GENESIS SONGS Continue reading “Steve Hackett North American Tour, 2016”

Peter Gabriel, From Genesis to Growing Up

Quick review of Michael Drewett, Sarah Hill, and Kimi Kärki, eds., PETER GABRIEL, FROM GENESIS TO GROWING UP (Surrey, ENG: Ashgate, 2010).

Birzer Rating: D.

gabriel radical lit critDon’t waste your time.

I’ve had this book for five years, but I’ve just finally had a chance to read through (yes, just through) it.  What a disaster.  I’m so very happy that scholars realize how important Gabriel is, but this is one of those “apply theory, subject doesn’t matter” books.

It’s so theory-laden that it could be just as well about Jane Austen or John Updike as it is Peter Gabriel.  And, the theory isn’t even interesting.  Deconstruct the means and methods of entertainment by the politics of identity and the power structures of an oppressive culture.

“In his search for individuated identity, XXXX undermined the very structures of power as understood in a declining corporatist society.”

Just who is XXXX?  It really doesn’t matter.  Peter Gabriel, Mercy Otis Warren, Carl Olson, or Baby Jesus.  Write book, insert subject, publish as an academic book, and sell to every library around the world.

Frankly, this book is a total mockery of the actual and individual genius of Peter Gabriel.  He deserves better, and so do we.

Celebrating Mediocrity, Part II: Genesis

In part I of this review, I attempted–and I hope succeeded–in professing my respect for Genesis, 1978-1983, while admitting my disappointment in INVISIBLE TOUCH (1986) and my nearly complete ignorance of anything the band released after 1986.  When Steve Hackett first introduces the [insert positive descriptive] Ray Wilson on one of the Genesis Revisited concerts, I had to google the guy.  I had no idea who he was.  This, for better or worse, probably tells you how little I know about Genesis’s later history.  I also noted that there were a few good things about the documentary the BBC made a year or so ago, Genesis Together and Apart.  Some of the questions, the footage, and the memories truly moved me.  I’d never heard of one of the talking heads, but, frankly, they were pretty entertaining, and I enjoyed their enthusiasm.

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The documentary that teaches selling Britannia is better than SELLING ENGLAND

Overall, the BBC narrative just infuriated me.

Some smart guys meet in an elite school.  They really like one another, except for Tony, whom everyone simply tolerates because of his talent.  Oh, and when there is disagreement, Tony gets grumpy.  Rather than backing down, everyone gives into Tony.  His moodiness isn’t worth combatting.  The friends write music that taps into nostalgia for pre-industrialized, Edwardian England.  From there, they create complex, artful tunes and dress in funny costumes.  Along for the ride comes some guy–who according to Tony–plays the guitar “stiffly” and another guy who plays the drums fiercely but who also smiles a lot and loves fun and gets along with everyone.  Weirdo costume guy leaves the band and becomes happy, even writing a pop anthem.  Stiff guitarist guy leaves the band and no one really cares one way or the other if he is happy or not.

Continue reading “Celebrating Mediocrity, Part II: Genesis”